Posted by Christopher Friedenthal 04 September 2011
Clog Fest was a one hour celebration of dance put together and presented by Hannah James. There were dances from Black Swan Rapper, Stoney Steppers, Footworks, Dan Eccles and Jake Jones and also contributions from Tiny Taylor and Fiona Bradshaw with her arm in a sling. Music was provided by various combinations of the Turtle Duhks, John Spiers and Sam Sweeney. Also taking part were a group from Austria called Volkstanzgruppe Lindwurm accompanied by an unusual combination of accordion, harp and double bass.
Hannah’s trio, Lady Maisery, joined in with some sung polkas, to which Hannah provided the percussion with a clog dance. Traditions combined for an exciting finale with most of the dancers taking part. A lot was packed into the one hour presentation - it was a great showcase, and dance of such high calibre certainly deserves to be seen more on the main stage at festivals.
Lady Maisery, already the hit of the festival for many people, also led a very popular harmony workshop in which they taught a round, a yodel (yes really!) and a Swedish polska. The attendees all became part of a Lady Maisery big band “flash mob” by the signing tent (it may appear on YouTube) - it certainly drew a crowd which of course was the intention.
The Cecil Sharp Project performed in the much bigger Marquee 2 this year. It holds 1,500 people and the organisers were obviously anticipating a huge attendance (after the success of The Darwin Project two years ago). As expected there was a capacity audience for the two hour performance.
After a slightly shaky start, the group soon warmed up, presenting a concert of tunes and songs inspired by Cecil Sharp’s travels in the Appalachian mountains and also arrangements of songs he collected there. Notable moments were “Dear Kimber”, a song based on a letter written by Cecil Sharp bemoaning the inclusion of girls in morris dancing, Leonard Podolak’s ham-boning solo (when he also taught the audience a few moves) and his song “Veggie in the Holler” about how Sharp tried to survive as a vegetarian in a place where the pig played a major role in the diet and chickens were regarded as a vegetable. The concert was particularly magical when the whole group sang in harmony with minimal accompaniment, and Jim Moray’s stunning ballad “Earl Brand” is also worth a mention. The performance ended with the whole group performing Cotswold morris dancing and Appalachian dancing and a novelty song about an imagined relationship between Cecil Sharp and Maud Karpeles.
We already know about Sam Carter’s dazzling finger-picking and articulate and insightful lyrics. The extra dimension of variety and texture provided by his soulful band gave his act an extra something special. He was moving on “Here in the Ground”, funny on “Lumpy’s Lullaby.” A surprise turn of electric blues was his reaction to Japan’s strife in “Waves & Tremors”. A festival highlight.
Lucy Ward played several sets over the weekend, the final one resulting in a standing ovation and two encores, with her fighting back tears for the second one. Her bright blue hair made her very easy to spot during the festival, and is a perfect reflection of her bubbly, cheeky personality. Much to her credit, she only repeated a couple of songs in each set so it was worth seeing her more than once.
Joining the all too short list of acts that are bright, young, folky & Welsh are Calan. During the dance tunes, the clogs (gold shiny ones no less), harp and canny of material set them apart from the crowd. The songs were more of a mixed bag, with a stunning, layered and sensitive version of Gwydr Glas on one hand and Jona on the other, that didn’t use half the band and veered into realms of pop balladry. Undoubtedly a great performance from a young band full of promise. I can’t wait to hear what they come up with next and with a new CD in the can we won’t have to wait long to find out.
Shrewsbury likes to go out on a high, and this year was no exception. The Oysterband were the final act of the weekend, and added to a powerful set with guest appearances from June Tabor (with whom they have just recorded a new album), James O’Grady and Leonard Podolak. The festival closed with a rousing version of “Bright Morning Star Arising” with the band joined on stage by festival directors Alan and Sandra Surtees and its new patron Steve Knightley.
Review by Shelley Rainey & Christopher Friedenthal
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